Uncovers the extraordinary breadth of designer Mariano Fortuny, including and beyond his fashion output, alongside the personal and political catalysts that inspired him Mariano Fortuny y Madrazo (1871-1949) was a polymath who experimented in a variety of media including electric lighting, stage design, photography, the development of pigments, and textile and garment design. Yet his vision as a painter, persistently attuned to light and color, shaped all his artistic endeavors. Fortuny: Time, Space, Light examines Fortuny's Venetian workspaces, clothing designs, stage lighting inventions, and paintings to find unifying themes of revivalism, memory, light, magic, and secrecy that run throughout his wide-ranging career. It features new archival discoveries, including unseen artworks and unpublished personal writings, as well as a new analysis of Fortuny's paintings, never-before discussed in an English-language publication. In addition to providing historical context and visual analysis of his work, the book delves into the relationships between Fortuny and Proust, Wagnerian opera, and Italian fascism. It also aims to illuminate more of Fortuny's personal motivations through new archival evidence and unpublished notes to explore how his object collection and library were used as catalysts for his innovative creations.

A lyrical manifestation of Leticia Valverdes' award-winning project that took her on a journey back to Portugal, her grandmother's motherland. This extraordinary project resulted in a magical collaboration with the inhabitants of Ana's birthplace, the village of Mundao. By inviting the villagers to write a postcard to her now dead grandmother, they became the fictional friends she believed she had whilst dying with Alzheimer's disease in Brazil. Through photography interspersed with poetic text, cyanotypes and votive offerings, this is a personal yet universal story exploring transgenerational trauma, longing, migration, and what it means to feel divided between two cultures. A hundred years on, this is the perfect time to tell this story, as Europe is engulfed in debates about borders, nationalism and migration.

Sylvie Huet rediscovered her own childhood teddy at the age of 49 in a Paris fleamarket. Until then he had lived only as a memory and in family photographs. Her discovery began a trail of exploration, revealing childhood memories and family secrets. The bears that feature are aged between 44 and 103 years old - worn, stitched, and scarred, yet seemingly indestructible. Mostly they are anonymous, but several have celebrity status. Amongst those included are Nana, Jean Paul Gaultier's bear with the cone bra; Grayson Perry's 'personal god' Alan Measles; Tomi Ungerer's bear, who inspired his famous children's book Otto; and Jubilee, a stuffed chimpanzee and the childhood companion of Dame Jane Goodall, now considered the world's foremost expert on chimpanzees. Sylvie Huet's portraits give the bears a dignity that befits their status in the eyes of their owners. Included are archive photographs, stories from the past, accounts of meetings and literary extracts.

Born in 1944, Prague photographer Jindrich Pribik makes supremely complicated work. Over more than 50 years, he has created 40 overlapping series, an intricate web of mutual references and quotations. Many of the works include written essays, reflections in glass windows, found negatives, literary motifs and other montage elements.

Francesco Radino (Bagno a Ripoli, Florence, 1947) is one of the masters of contemporary Italian photography. Participating in the developments of research photography on the contemporary landscape, over the course of fifty years he developed an intimate way of exploring reality in its profound economic, historical, social and cultural transformations. The volume contains the most significant works of his rich production, accompanied by numerous critical interventions and writings by Radino himself. Contributions by: Roberta Valtorta, Giovanni Arpino, Giovanna Calvenzi, Paolo Cognetti, Eleonora Fiorani, Antonella Pelizzari, Urs Stahel, Fabrizio Trisoglio, Mauro Zanchi, Francesco Radino. Text in English and Italian.

In 1948, photographer Tom Kelley took a photograph of an out-of-work actress, a nude posed against a scarlet background. That actress was Marilyn Monroe, and a few years later, the photo became Playboy's first ever centrefold. This volume offers a complete look at Kelley's visionary colour nude photography of the 1940s-1970s.

The updated retrospective published for McCullin's 80th birthday. Contains 40 new unpublished photographs and a new introduction - the definitive edition. McCullin's reputation has long been established as one of the greatest photographers of conflict in the last century. In the fourteen years since the first publication of the book, McCullin has shed the role of war photographer and become a great landscape artist. He has also travelled widely through Africa, India, the Middle East and among the tribes living in Stone Age conditions in Indonesia. His journey from the back streets of north London to his rural retreat in the depths of Somerset is unparalleled. It includes a passage through the most terrible scenes of recent history, for which his stark views of the West Country offer him some redemption.

Occupied is a collection of urinals used and photographed by artist Brian Fouhy. By including information surrounding the use of the urinal, such as the meal eaten in a restaurant, the score of a game at a sporting event, or the miles travelled since his last pee break while driving; Fouhy adds another layer to the experience beyond just a standard visit to the loo. This book is full of fun, whimsy and takes a tongue-and-cheek look behind the closed doors of bathrooms. The second book from Brian, this collection of photography still maintains that distinct observational style of the artist.

This striking book shows the world's most beautiful libraries through Candida Hoefer's mesmerizing photographs. No one photographs spaces quite like Candida Hoefer and no one has captured better the majesty, stillness, and eloquence of libraries. Traveling around the world, Hoefer shows the exquisite beauty to be found in order, repetition, and form--rows of books, lines of desks, soaring shelves, and even stacks of paper create patterns that are both hypnotic and soothing. Photographed with a large-format camera and a small aperture, these razor-sharp images of the Pierpont Morgan Library in New York, the Escorial in Spain, Villa Medici in Rome, the Hamburg University library, the Bibliotheque Nationale de France in Paris, and the Museo Archeologico in Madrid, to name a few, communicate more than just the superb architecture. Glowing with subtle color and natural light, Hoefer's photographs, while devoid of people, shimmer with life and remind us again and again that libraries are more than just repositories for books. Umberto Eco's essay about his own attachment to libraries is the perfect introduction to an otherwise wordless, but sublimely reverent journey.

As well as looking at the training environment Kandhola focuses on three established figures in boxing: Julius Francis, a four-times British Heavyweight and Commonwealth champion, who Kandhola first photographed in 2000 just before his fight with Mike Tyson; Robert McCracken, who won the British Light Middleweight title in 1994 and the Commonwealth title in 1995 - currently McCracken is Performance Director for the British Olympic team, and personal coach to Carl Froch; and Howard 'Clakka' Clarke who fought at Madison Square Garden for the IBF Light Middleweight Title - he lost, after which his career took a significant nose-dive with him winning only one fight out of his next seventy. He retired in 2007.

Gullberg combines images of women bearing scars on their bodies with those of the natural world - hinting at both a sense of inevitability and our unrealistic dreams of perfection. These women expose themselves, putting on display what our culture seeks to forget - the imperfect, the ugly and the embarrassing. And yet we need to be loved as we are. Unravelled is made in the hope that the viewer will come to love themselves a little bit more. The expressive qualities of Gullberg's work are both intimate and edgy. Her viewers are given a raw, yet poetic, look at life. She looks for beauty, strength and pride where you would not always expect to find it. Gullberg says "I deliberately put myself in situations that make me vulnerable. It makes me remember what it's like to have pictures taken of yourself. That again helps me uncover the traces that bind us together."

The Landscape of Murder documents all the sites where murders occurred in London between January 1st, 2011 and December 31st, 2012. In total 209 murders were committed over this two year period. Most murders make the news for only a fleeting moment and the landscape in which they occur reverts back to normality very quickly after the forensic teams leave. Yet the scars remain, sometimes subtle, sometimes very open, whether a single solitary flower or the gathering of grieving family and friends. Sometimes nothing remains to show that a life has ended violently in a particular location. Antonio Zazueta Olmos seeks to give memory to what are mostly forgotten events, in unseen places where great violence has occurred. A violence that is mostly silent, private and unseen by the wider public. The project has taken him to parts of London he knew little or nothing about and in the process he has created an alternative portrait of London, one shaped by violence and inequality.

324 pages of never before seen Roxy Music photographs from one of the most high-profile Roxy Music fans celebrating the 50th anniversary of the band's debut album. A perfect gift for fans of 80s bands, Roxy Music and music photography. 2022 marks the 50th anniversary of Roxy Music's eponymous debut album, which the band are celebrating with a North America and UK tour, their first in over a decade. To coincide with this milestone, we are proud to present a one-of-a-kind historical document and celebration of one of the most beloved and enduring bands of our times. Documenting the band from their heyday in 1973 right up to Roxy's last live performance in 2019 - more often than not from the photographer's pit - and punctuated by rare memorabilia, priceless memories and cheeky anecdotes, Roxy Live is the book Roxy fans have been waiting for.

"The Suffering of Light" is the first comprehensive monograph charting the career of acclaimed American photographer Alex Webb. Gathering some of his most iconic images, many of which were taken in the far corners of the earth, this exquisite book brings a fresh perspective to his extensive catalog. Recognized as a pioneer of American color photography since the 1970s, Webb has consistently created photographs characterized by intense color and light. His work, with its richly layered and complex composition, touches on multiple genres, including street photography, photojournalism, and fine art, but as Webb claims, "to me it all is photography. You have to go out and explore the world with a camera." Webb's ability to distill gesture, color and contrasting cultural tensions into single, beguiling frames results in evocative images that convey a sense of enigma, irony and humor. Featuring key works alongside previously unpublished photographs, "The Suffering of Light" provides the most thorough examination to date of this modern master's prolific, 30-year career.
The photographs of Alex Webb (born 1952) have appeared in a wide range of publications, including "The New York Times Magazine," "Life," "Stern" and "National Geographic," and have been exhibited at the International Center of Photography, New York; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York. He is a recipient of the Leica Medal of Excellence (2000) and the Premio Internacional de Fotografia Alcobendas (2009). A member of Magnum Photos since 1976, Webb lives in New York City.

William Eggleston once asked Harvey Benge - What are you doing these days? Photographing the urban social landscape, said Benge. Don't talk bullshit; what are you doing? Eggleston insisted. Making strange pictures in cities, replied Benge. However you look at them, Harvey Benge's photographs are mostly urban and generally strange. His work is mysterious; nothing is solid. The pictures capture contrasts and conflicts which leave you wondering what has just happened and what might happen next. He gives voice to the mundane and overlooked. His open-ended photographic sequences record small moments of everyday life that flash past with tension and ambiguity: an urban dream on the edge of reality where figures retreat, seats are empty, phones don't work. Any and every interpretation is a valid interpretation. What is going on? You decide. With photographs made in Paris, London, New York and Rome, this new intensely personal, some might say autobiographical book, is enigmatically entitled 'Some Things You Should Have Told Me'. It is a remorseless meditation on loss and misadventure, pain and impermanence, the inevitability of change. Questions are asked; there are no answers.

Air shows are a fun day out for the family. On the ground, tank rides are on offer and armed forces' recruitment drives afford children an opportunity to indulge in their fascination with guns. There are elements of fantasy and the carnivalesque here and a clear disconnect between this 'play' and the actual effect of weapons. In Friend's photographs the beach and the landscape become uneasy, surreal spaces, temporarily militarized by the fleeting presence and roar of fighter jets. She places us at the edge of the island state where the sight and sounds of these aerial displays remind us of Winston Churchill's World War II speech, "We shall fight on the beaches". Civilian aircraft displays are interwoven with military ones, whilst nostalgia for World War II is evoked by the presence of 'war birds' such as the Lancaster bomber, only to be followed by the 'shock and awe' displays of contemporary fighter jets such as the Tornado, recently deployed in Libya and Afghanistan. By contrast, the trade days of the larger air shows such as Farnborough promote military hardware in a more direct way, while deals are negotiated behind the closed doors of the hospitality chalets.

At the age of 22, John Chillingworth was the youngest member of the 'star' team of photographic journalists on the magazine. He worked alongside many other great photographers including Bert Hardy, Kurt Hutton, Felix Man, Bill Brandt, Thurston Hopkins, Grace Robertson, and Leonard McCombe. Editorially the magazine was liberal, anti-Fascist and populist. It covered everything from politics, through to sport, fashion, music, theatre and film, as well as picture stories of everyday life both in the UK and abroad. Chillingworth stayed with Picture Post for seven years producing a vast range of photo stories of a very high quality. Encouraged by the legendary picture magazine editor Tom Hopkinson, he learned to combine 'story-telling' images with the written word and worked with some of the finest magazine journalists of the age. Hopkinson, described Chillingworth as one of his great successes. Although John Chillingworth's images are still reproduced in publications around the world, this is his first monograph and features a wide range of photographs, primarily taken during his Picture Post years. The book is introduced by Matthew Butson, Vice President of Hulton Archive, whose vast experience of the Picture Post archive stretches back almost 30 years.

A well-known naturalist, forester and nature photographer, Don MacCaskill died in May, 2000 while out for a walk in the forest he loved, his camera as ever at the ready. Faced with a collection of between three and four thousand transparences, his wife, Bridget felt that so many of these were outstanding examples of both a gifted photographer and a dedicated naturalist, that some should be made available to others interested in similar pursuits. It quickly became apparent that they also formed a kind of photographic autobiography of the man himself, his concern for nature and his need to try to demonstrate, through his photography, the responsibility of Man to that natural world of which he is a part. Don's 'mate' in most of his endeavours (and a keen naturalist herself), Bridget has put together a book of stunning photography, with text that gives the reader a delightful taste of Nature throughout the seasons and an appreciation of the nature photographer's tasks over the year. The whole work is complemented by the poetry of Jim Crumley, each poem inspired by one of Don's photographs. 'He was a professional forester and a brilliant self-taught naturalist and wildlife photographer. Above all, from our point of view, he could communicate his enthusiasm to others...a huge portfolio of nature photographs of the highest quality. Now we are able to share some of them with her [Bridget]. What I find uncanny, is that in writing the text, she has found and reproduced Don's distinctive 'voice'. Extract from the Foreword by Julian Pettifer.